Surrounded by this Incredible Vortex of Musical Expression: A Conversation with Gunther Schuller

2011 ◽  
Vol 49 (1) ◽  
pp. 172-181
Author(s):  
Bruce Brubaker
Keyword(s):  
Musical Expression ◽  
Gunther Schuller

Gunther Schuller

2011 ◽  
Author(s):  
Gunther Schuller
Keyword(s):  
Gunther Schuller

Attentional Engines

2020 ◽  
Author(s):  
William P. Seeley
Keyword(s):  
Interdisciplinary Research ◽  
Perceptual Experience ◽  
Abstract Objects ◽  
Cognitive Systems ◽  
Musical Expression ◽  
Broad Base ◽  
The Arts ◽  
Perceptual Psychology ◽  
Unique Source ◽  
Philosophical Understanding

What is it about art that can be so captivating? How is it that we find value in these often odd and abstract objects and events that we call artworks? My proposal is that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. My suggestion is that there is a lot that we can learn about art from interdisciplinary research focused on our perceptual engagement with artworks. These kinds of studies can reveal how we recognize artworks, how we differentiate them from other, more quotidian artifacts. In doing so they reveal how artworks function as a unique source of value. Our interactions with artworks draw on a broad base of shared artistic and cultural constitutive of different categories of art. Cognitive systems integrate this information into our experience of art, guiding attention, and shaping what we perceive. Our understanding and appreciation of artworks is therefore carried in our perceptual experience of them. Teasing out how this works can contribute valuable information to our philosophical understanding of art. Attentional Engines explores this interdisciplinary strategy for understanding art. It articulates a cognitivist theory of art grounded in perceptual psychology and the neuroscience attention and demonstrates its application to a range of puzzles in the philosophy of the arts, including questions about the nature of depiction, the role played by metakinesis in dance appreciation, the nature of musical expression, and the power of movies.

The Origin and Form of Aeolic Verse

1909 ◽  
Vol 3 (4) ◽  
pp. 291-309
Author(s):  
John Williams White
Keyword(s):  
Nineteenth Century ◽  
Modern Poetry ◽  
Poetic Form ◽  
Musical Expression ◽  
Modern Music ◽  
Greek Poetry

The Aeolic dimeter and trimeter constitute so considerable a part of Greek lyric and dramatic poetry that the correct apprehension of their form is a matter of great moment. The Greek metricians comprehended this rightly, in the main, but in the first half of the nineteenth century the doctrine of these learned men was supplanted by a new theory that attempted to apply the principles that underlie modern poetry to the explanation of the undoubtedly complex rhythm of these clauses. Many scholars persistently maintain this theory. It is not difficult to discover why it was invented (it is absolutely new) and why it remains attractive. That the quantitative rhythms and metres of Greek poetry should seem complicated to men whose language is accentual is inevitable, whereas modern metres and rhythms are notoriously simple. The limitations imposed upon poetic form by accentual speech are extreme. No modern poet, for example, has attempted Ionic or Cretic measures. Again Greek music was simple, and both music and dance were under the control of the singers, but modern music is a complex art, and casts language in an iron mould. Nevertheless musical expression must be the basis of comparison, so far as we allow ourselves to institute it, between ancient and modern rhythms. The attempt to conform Greek lyrics to the elementary—and uncertain—rhythms of modern poetry that is merely read or recited implies a fundamental misconception of relations. Greek lyrics were melic. Agathon, in the Thesmophoriazusae, sings as he composes. These Greek songs were never intended to be read by anybody, Greek or barbarian.

Kivy's Theory of Musical Expression

1993 ◽  
Vol 27 (1) ◽  
pp. 10 ◽  
Author(s):  
V. A. Howard
Keyword(s):  
Musical Expression

Leading Children to Creative Musical Expression

1953 ◽  
Vol 136 (2) ◽  
pp. 48-64
Author(s):  
Gloria MacKay ◽  
Doris McIntyre
Keyword(s):  
Musical Expression

Subglottal pressure and musical expression in singing

1991 ◽  
Vol 16 (1-2) ◽  
pp. 43-49
Author(s):  
Johan Sundberg ◽  
Ninni Elliot ◽  
Patricia Gramming
Keyword(s):  
Musical Expression ◽  
Subglottal Pressure

Ernest Bloch's Second String Quartet

Tempo ◽  
1959 ◽  
pp. 11-16
Author(s):  
Frederick Rimmer
Keyword(s):  
String Quartet ◽  
String Quartets ◽  
The Other ◽  
Sonata Form ◽  
Musical Expression ◽  
The Right

The four string quartets* of Bloch are a convenient medium for assessing both the strength and weakness of his unusual talent, revealing, as they do, an imperfect endowment of those processes of thought and feeling from which, in the right amalgam, a masterpiece of musical expression can emerge. Only the second quartet represents him at his best. It is one of the few works where inspiration and emotion are under the control of the intellect. There are weaknesses in the other quartets largely brought about by preoccupation with cyclic procedures—a notorious and dangerous expedient for a composer unable by nature to accept the traditional usages and disciplines of sonata form.

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